Bosko the Doughboy

The Bosko cartoons may not be animation masterpieces, but they are fascinating as examples of Looney Tunes in their early days before the creation of more compelling characters and funnier and more creative cartoons. There are some good cartoons, as well as some average or less ones.

'Bosko the Doughboy', one of the better Bosko cartoons by quite some way, is a welcome return to the war-oriented theme explored in 'Dumb Patrol', another one of the better Bosko cartoons. Again the story is slight and slightly flimsy and a couple of parts are not for the easily offended.

On the other hand, the animation is good. Not exactly refined but fluid and crisp enough with some nice detail, it is especially good in the meticulous backgrounds and some remarkably flexible yet natural movements for Bosko. The music doesn't disappoint either, its infectious energy, rousing merriment, lush orchestration and how well it fits with the animation is just a joy.

The gags are quite inventive and fun with a brave and successful attempt at being darker and grimmer than usual for a Bosko cartoon, Bosko while not a great character is more compelling than usual and the pacing is lively enough.

In summary, very good. 8/10 Bethany Cox

Considering that approximately 11,000,000 people were killed during WWI, you would think it would be a topic that was taboo in cartoons. Yet, inexplicably, this is the second Warner Brothers/Looney Tunes cartoon set during the war that I've seen in the last couple weeks (the other being "Boom Boom" from 1936). Both are set in the trenches and both show the rollicking good time that can be had in the war!! Call me a killjoy, but I just can't understand this sort of subject in a cartoon.

The film has a big strike against it at the start--it was made during the Harmon-Ising era at Looney Tunes. I say this because their productions emphasized cute and their creation, Bosko, was rather cutesy and bland. But, at least there is no singing in this one! Overall, it's animated well but also a bit unsavory. Plus, some might raise an eyebrow at the ending with its cheap attempt at humor (Bosko is burnt to a crisp and does an Al Jolson imitation). Overall, better than most Harmon-Ising cartoons but that still isn't saying a lot.

Believe it or not, there were a few American cartoons from both the silent and early sound periods which used the Great War as fodder for comedy! Given the destructiveness of that particular conflict, it seems tasteless that these cartoons should treat the subject matter so lightly.

But heck, I have to admit I thought Bokso the Doughboy (1931) was pretty amusing.

I'm not a big fan of the early Looney Tunes; indeed, Disney and the Fleischers easily overshadowed them in the early 1930s. By no means is this Bosko short bucking that trend of mediocrity, but it is a lot of fun with its dark humor and mildly imaginative gags. Bosko himself is still a largely uninteresting character, but that is less noticeable than usual here.

Bosko, in case you've never heard of him, was the original Warner Bros. cartoon star (before Bugs Bunny, Daffy Duck, Porky Pig, etc). A feisty, black and white character of no discernible species - although he looks like a minstrel character - the Looney Tunes series would have him go through a litany of adventures representing common daily aspects of life.

One entry was 1931's "Bosko the Doughboy". Hugh Harman's short casts Bosko as a soldier, presumably in World War I. Which brings up a discussion topic. You see, in Warner's WWII-themed cartoons, it was always very clear that it was WWII, and that Bugs or Daffy or whoever were fighting Nazis. Here, not only is the war never specifically identified, the enemy is never specifically identified. So how do we know who the enemy really is? One thing that we learned in "Catch-22" is that "...anyone with a gun is the enemy." Of course, I'm sure that the people behind the cartoon never intended for the cartoon to merit such a complex interpretation. I have no doubt that they envisioned it as pure entertainment. Not that it contains much in the way of entertainment. I believe that I speak for most Looney Tunes fans when I say that the Looney Tunes' golden age began with Porky Pig's debut in Friz Freleng's "I Haven't Got a Hat" in 1935.